Jerusalem

The speaker moves from waiting alone and feeling subdued to imagining a meeting with someone who might bring hope and connection. The repeated invitation to meet and “make love” turns Jerusalem into a place where desire and prayer come together. By the end, the mood becomes more energetic and dreamlike, as the speaker imagines a journey toward home and the stars.

Several images suggest longing rather than a literal trip. The river, silver moon, and “chasing shadows” create a quiet, uncertain atmosphere; chasing shadows can imply pursuing something elusive and feeling unhappy as a result. The “house of love” sounds like a hoped-for refuge, while Jerusalem carries religious associations in the lyrics, linking romantic closeness with spiritual yearning. “New assassins, new messiahs” places danger and rescue side by side, without explaining exactly who or what they represent.

The song leaves its central invitation open to interpretation. “Let’s make love” may mean physical intimacy, but alongside prayer and the language of souls, it can also suggest creating affection, peace, or unity. Jerusalem might be an actual destination, a symbolic meeting place, or an ideal of reconciliation. The lyrics do not resolve these possibilities, which gives the speaker’s hope both intimacy and a larger, almost visionary quality.